If you have been at Bristol Museum & Art Gallery within the last week, you might have noticed that our street-level entrance lobby is now a much more welcoming place for our visitors.
Staff at a new Welcome Desk now greet everyone as they enter the museum. Visitors are asked if they’ve been to the museum before, if they’ve come for a general look around or for an exhibition, talk or particular gallery or artefact.
Welcome Desk staff state that there’s no general admission fee and that donations are welcome, adding any highlights or their own personal favourites from what’s on display.
The visitor map has been improved to more graphically show the layout of the museum and share some of the highlights in the galleries. Finally, visitors are asked if they would like to make a donation today to Bristol Museums Development Trust (the independent registered charity that raises funds for Bristol Museums and Archives).
To explain why we are asking for donations, the editorial on the reverse of the visitor map explains that behind the scenes curators, conservators, documentation professionals and a host of other specialist staff are working to care for the collections, create new displays and encourage people of all ages and interests to discover more.
Illustrated examples of how the £5 suggested donation could help are also provided in the visitor map, for example to conserve an artefact, examine minerals more closely, or conserve a painting. The visitor map also outlines Bristol Museums’ sources of funds: this is approximately 40% from Bristol City Council, 30% from Arts Council England, and the remaining 30% coming from our shops, cafes, event hires, Friends groups, and fundraising from a variety of sources including visitors.
It is anticipated the new Welcome Desk will give passers-by more of an idea of what happens inside this Edwardian building, resulting in more people crossing the threshold. It should also significantly increase the donation per head (currently 7p per head at Bristol Museum & Art Gallery), thus bringing in much needed funds that will enable us to do more with our collections and thus improve the visitor experience.
The Welcome Desk is being trialled for four months, until the end of October. If you have any comments about the Welcome Desk project, please contact Valerie Harland at firstname.lastname@example.org
Image of Jake Mensah walking successfully through the barrier
This week we installed an entry gate system to our exhibition gallery at M Shed just in time for the opening of Children’s TV. Our “exhibition” gallery is located on the top floor, far away from the ground floor reception and not naturally easy to stumble across for the average wandering visitor. The project scope was to reduce the overall cost of an exhibition to the service and encourage as many visitors as possible to purchase tickets in advance. We’ll then test the success of the project against three of our key performance indicators – customer satisfaction, cost per transaction, and digital take-up.
Against each KPI we aim to:
Customer satisfaction – We don’t want people to experience a notable difference between our old approach of buying from a member of staff at the entrance and them buying online/kiosk and then entering the exhibition via the gate. We expect teething issues around the “behaviour” of this new approach but not from the technology itself which should be robust. The outcome we need is for little to no complaints within the first two weeks or until we find solutions for the teething problems.
Reduce cost per transaction – a typical paid exhibition costs approximately £7,000 to staff the ticket station. By moving to a one off fee (plus annual service) we’ll save money within 12 months and then in year two this will return a large saving for this function.
Increase digital take-up – until now it wasn’t possible to buy exhibition tickets online or using your mobile device at the museum. This is a feature that the new system enables so we’ll spend the next 18 months actively encouraging the public to buy a ticket “digitally” as part of our move to being digital by default. An additional benefit of using our website to buy tickets is that hopefully a percentage of these visitors will discover other services and events we offer. I also do wonder if we need to get a self-service kiosk to reduce the impact on the reception.
Setting up the entry gates
The third party supplier obviously manufactured and installed the gates but there was still lots for our team to deal with. We needed input from a whole gang of people. Our operations duo worked on ensuring we had the correct physical location, power, security and fire systems integration. Via collective feedback our visitor assistants provided various customer journeys and likely pinch points. Our digital team then helped with the installation and software integration for buying tickets. Design and marketing then helped with messaging. Throughout I was charged with overseeing the project and site visits with the supplier.
The major components of the project are:
Physical barriers – two stainless steel coated gates with a bunch of sensors and glass doors
Software for the barrier
Web service to purchase tickets
Onsite EPOS to sell tickets and print which is currently located at main reception
I was onsite for the launch and saw the first 50 or so visitors use the entry gates. My initial observations were that the gates didn’t negatively slow or concern the visitor and having asked a number of them it wasn’t a big deal. However an obvious pinch-point is that the barcode scanner doesn’t always read the barcode, leaving the visitor struggling. My hunch at this point is that our paper tickets are too thin and bendy which means the barcode scanner fails to recognise the barcode. In the coming week we’ll need to investigate if it is the barcode or barcode scanner as the primary cause and find a fix.
When multiple visitors arrive at the barrier there can be some confusion about how “one at a time” actually works. I’m hopeful that clear messaging will iron this out.
A slight issue was that we couldn’t take online payments due to a gateway issue which we’ll have fixed Monday.
Overall I’m very happy with the introduction of the gates and once we deal with the aforementioned teething issues it should be on to the next location for these gates. This is one of those projects that can only really be tested once they go live with real visitors, and the team did a fantastic job!
Having taken an agile development approach to our digital screen technology, it has been interesting as the various elements emerge based on our current needs. Lately there has been the need for quick ways to push posters and images to the screens for private events and one-off occasions.
Due to the complexity of the various modes, and the intricacies of events-based data and automatic scheduling it has been difficult incorporating these needs into the system. Our solution was to use Google Drive as a means to override the screens with temporary content. This means our staff can manage content for private events using tables and mobile devices, and watch the updates push through in real time.
The pathway of routes now looks like this
There are two main elements to the override process – firstly, we are using BackboneJS as the application framework because this provides a routing structure that controls the various signage modes. We added a new route at the beginning of the process to check for content added to Google Drive – if there is no content the signs follow their normal modes of operation.
Google Drive Integration
Google provide a nice way to publish web services, hidden amongst the scripts editor inside Google sheets. We created a script that loops through a Drive directory and publishes a list of contents as JSON – you can see the result of that script here. By making the directory public, any images we load into the drive are picked up by the script. The screens then check the script for new content regularly. The good thing about this is that we can add content to specially named folders – if the folder names match either the venue or the specific machine name – all targeted screens will start showing that content.
It seems that this form of web hosting will be deprecated in Google Drive at the end of August 2016. But the links we are using to get the image might still work. If not we can find a workaround – possibly by listing urls to content hosted elsewhere in the Google sheet and looking that up.
The main benefits of this solution are being able to override the normal mode of operation using Google Drive on a mobile device. This even works with video – we added some more overrides so the poster mode doesn’t loop till the next slide until after the video has finished – video brings in several issues when considering timings for digital signage. One problem with hosting via Google Drive is that files over 25MB don’t work due to Google’s antivirus checking warning which prevents the files being released.
We’ll wait to see if this new functionality gets used – and if it is reliable after August 2016. In fact – this mode might be usable on its own to manage other screens around the various venues which until now were not up datable. If successful it will vastly reduce the need to run around with memory sticks before private events – and hopefully let us spend more time generating the wonderful content that the technology is designed to publish for our visitors.
You can download the latest release and try it for yourself here.
At Bristol Museums we use EMu to manage digital interpretation, and have several galleries with touchscreen kiosks displaying object narratives. We haven’t yet settled on a single technology, framework or data model as each new project gives us opportunities to test out new ideas, based on what our audiences want and on our previous learning. The refurbishment of our European Old Masters Gallery has given us the opportunity to extend the printed interpretation into digital.
The classic look of the gallery means label space is kept to a minimum, and this had reduced the amount of printed interpretation available on the physical labels. Digital gives our curators the opportunity to expand on the depth of interpretation by writing more detailed descriptions of paintings. Our challenge was to come up with a solution that provided in-gallery mobile digital interpretation that was easy to access and fast to load, and that made sense in context.
Taking a user-focused approach, we were keen to provide appropriate technology to the sorts of visitors to the gallery. Our audience research shows that mobile technology is a standard anong these visitors, as explained by Darren Roberts, our user researcher.
Our Audience segmentation shows that three of the Core Audience Segments for Rembrandt – City Sophisticates, Career Climbers, and Students – are all over 20% more likely than average visitors to use their mobile phone to access educational web content or apps. All three groups are also over 20% more likely than average to agree with the statement ‘I couldn’t live without the internet on my mobile’. These three segments account for over a third of the general audience for the museum.
Ranked in order of segments that are both most likely to have an interest in Antiques and Fine Art and use their mobile phone to access free educational content or apps:
The top three are over 40% more likely than average visitors to engage in both these activities. All five are expected to be part of the core audience for the Rembrandt exhibition.
With this in mind, we set about analysing the printed labels – looking at where data could be brought in from our collections management system (EMu) automatically to minimise effort in writing content. As it turns out we already had most of this data (artist name, birth date, death date etc.) and so the main curatorial effort could be focused on text wiring for the labels, while we designed the template to bring the data together.
Thanks to some preliminary experiments, we already had a working framework to use – we are using AngularJS on the client side for rapid prototyping, templating, routing and deployment.
Our next challenge was to optimise performance and maximise up-time. Having been inspired by the linked open data movement, we opted for having the data sit in structured JSON files that could be reused multiple times by various apps without querying the database directly. This had the double effect of reliability and speed. We did a similar thing with multimedia, running a regular content refresh cycle and packing everything up for the app to use, with images saved at sizes for thumbnail and detail views.
The finished template was as follows – we opted for a minimalist design for east of reading, and with responsive elements the pages work across multiple devices.
The process of selecting source fields and mapping them to the template has inevitably thrown up areas where our database use could be improved, and where before we had data across many fields, now we have laid out better guidelines for object cataloguing that should ease this issue – for the app to work we needed set fields to extract information about the painting and artists.
We also had to deal with inconsistencies in terminology, for example the various ways dates could be written – on printed labels these variations are permitted, but we need to define the semantic patterns in order for this to work in digital. Now we have a workflow for improving the way we catalogue our objects as a result of this process.
Where some terms were abbreviated on the labels e.g “b” and”d” for birth and death – we expanded these on the digital labels as space was not an issue and we also felt this was easier for users to read and understand – digital allows us to implement some of our user focused principles without disrupting the printed gallery interpretation.
Through in-gallery user testing we found that whilst some features were obvious to us, visitors were not always getting to the bits we wanted them to see – we therefore added a call to action to make it clear what was available…
“Find out more about the objects in this gallery”
Something we are interested in finding out is how users navigate to their chosen painting. User stories and personas are one method we could use to get a better understanding of this. To facilitate various user journeys, we provide different routes to each digital label, either by searching by painting name, filtering on the artist’s name, or through browsing through the list view.
The routing mechanism of AngularJS gave us a simple way to navigate through from the list view to the record view by altering the # parameter as follows:
We also included some libraries for smooth page loading to improve the user experience. At this stage we don’t know whether the digital labels have a use outside the gallery, but in case the do we wanted the pictures to be zoomable, and there was a code library that allows this. N.B. this is not yet deep zoomable, but we are on the road to achieving that.
We want to be able to reuse our structured data on paintings and artists and their info and dates whenever new technology comes along, and so our data layer exists independently of the application, and it also sits outside our database on a publicly accessible endpoint. If you want to use any of it, in JSON form you can take a look here:
We store lists of objects in separate index.json files here:
And for details info about an object you can load up records by their id here:
Structures and paths may change as we develop the system so apologies if these are not accessible at any point. We change bits in order to improve issues with loading time and reliability, but we aim to resolve this to a standard approach to our data layer with time.
We are also figuring out what structure out object (json) records need to contain in order to maximise their use outside of our collection management system. Where dates and places exist in several source fields, we can prioritise these on export to choose which dates are most suitable, and similarly for places.
We construct a standard object schema in JSON as a result of a scheduled content refresh script which queries the IMu api, prioritises which fields to include the and saves as a JSON…
We have implemented this in one gallery so far, and for one object type. We are now looking to roll this out to other galleries and look forward to similar challenges with different types of objects.
We are also extending the design of the prototype to bring in timelines and mapping functionality. These bring an interactive element to the experience and also provide new ways of visualising objects in time and space.
We included the TimelineJS3 library into our framework, and hooked it up to the same data powering the object labels. This provides a comparison of artists’ lives with each other, and with the paintings they produced.
We need to tweak the css a little, but out of the box it works well, thanks to the kind people at Knightlab.
The project has made us rethink some of our cataloging standards – we are aligning our internal data capture and export to be better equipped to make use of new web tools for public engagement.
We have decoupled the tasks of writing label text, and reusing object data and applying narrative metadata. We also have a process that would allow new layers of interpretation to be written and published to the same application architecture, and we can present a simplified data entry process to staff for this label writing process.
Although we haven’t solved the problem of how to improve uptake of the application in-gallery, we’ll be ready when someone does. If its ibeacons that do it – and we think it might be, we can direct users to a single object label using a unique url to our digital label.
For now though it is just a trusty old url to point people to the page where they then navigate further, but we’d love to remove this barrier at some point.
You can read lots about how the project came about by reading the various blog posts on here with the tag “hidden museum“.
The reason we haven’t made a big splash about the launch comes down to one word BATTERIES. As the app has taken so long to get into the app store we are yet to get the chance to run around the building and check all the battery levels of the ibeacons. Thus the app is available but living by its moniker and being hidden from general view for a few days. If you do get a chance to play the game please do let me know what you thought by leaving a comment, tweeting @bristolmuseum or email.
On to the next projects to ship, CRM and alpha visitor giving.
The digital team at Bristol Culture face new challenges every day, and with diverse collections come a diverse range of problems when it comes to publishing online. One particularly taxing issue we encountered recently was how to represent and navigate through an archives collection appropriately on the web.
Here’s what Jayne Pucknell, an archivist at the Bristol Record Office, has to say:
“To an archivist, individual items such as photographs are important but it is critical that we are able to see them within their context. When we catalogue a collection, we try to group records into series to reflect their provenance, and the original order in which they were created. These series or groups are displayed as a hierarchical ‘tree view’ which shows that arrangement.”
So far so good – we needed to display this tree-view online, and it just so happens there is a useful open source jquery plugin to help us achieve that, called jsTree.
The problem we found when we implemented this online, was that the tree view did not display the archive records in the correct order. The default sort was the order in which the records had been created, and although we were able to apply a sort to the records in our source database (EMu), we were unable to find a satisfactory sorting method that returned a numerical sort for the records based on their archival reference number. This is because the archival reference number is made up from a series of sub-numbers reflecting sub collections.
So this gave us a challenge to fix, and the opportunity to fix it was possible because of the EMu API and programming in between the source database and collections online. The trick was to write a php function that could reorder the archive tree before it was displayed.
Well, we did that and here’s a breakdown of what that function does:
The function takes 2 arguments – the archival number as a text string, and the level in the archive as an integer.
1.) split the reference number into an its subnumbers
2.) construct a new array from the subnumbers
3.) perform a special sort on the new array that takes into account each subnumber in turn
in theory that’s it – but looking at the code in hindsight there are a whole heap of complexities that would take longer to articulate here than just to past in the code, so lets make it open source and leave you to delve if you wish – here’s the code on Github
Another subtle complexity in this work is described further by Jayne:
“You may search and find an individual photograph and its catalogue entry will explain the specific content of that image, but to understand its wider context it is helpful to be able to consider the collection as a whole. Or you may search and find one photograph of interest but then want to explore other items which came in with that photograph. By displaying the hierarchy, you are more easily able to navigate your way through the whole collection.”
Because of the way our collections online record pages are built – a record does not immediately contain links to all its parents or children. This is problematic when building the archives tree as ideally we wish each node to link to the parent or child depicted. We therefore needed a way to get the link for each related record whilst constructing the tree. Luckily we maintain the tree structure in EMu via the parent field.
The solution was to query the parent field and get the children of that parent, then loop through each child record and add a node to the tree. This process could be repeated up the parents until a record with no parents was reached and this would then become the root node. Because the html markup was the same for each node, this process could be written as a set of functions:
1.) has_parent: take a record number and perfom a search to see if it has a parent, if it does return the parent id.
2.) return_children: take a record number, search for its child records and return them as an array
2.) child_html: take an array of child records and construct the links for each in html
Taking advice from Jonathan Ainsworth from the University of Leeds Special Collections, who went through similar issues when building their online pages, we decided not to perform this recursively due to the chance of entering an infinite loop or incurring too much processing time. Instead I decided to call the functions for a set number of levels in the tree – this works as we did not expect more than seven levels. The thing to point out is that when you land on a particular record, the hierarchical level could be anything, but the programmed function to build the tree remains the same.
Here’s the result – using some css and the customisable features in jsTree we can indicate which is the selected record by highlighting. We also had to play around with the jsTree settings to enable the selected record to appear, by expanding each of its parent nodes in turn – to be honest it all got a bit loopy!
Hi, I’m Dhruv, and I’m a second year Computer Scientist at the University of Bristol. Along with 5 other team members, as part of our Software Product Engineering module, we are creating an interactive web-app for the Egypt Exhibition at the Bristol Museum.
The purpose of this web-app is to allow visitors to the museum to browse the exhibition whilst viewing more information about each of the exhibits on their phones, instead of the currently implemented kiosks. The following is a light technical overview of how it works.
We decided to create a solution in this way as we felt it allowed a closer interaction with the content, along with dealing with the issue of multiple people using the kiosk at the same time. It also allows for user’s current accessibility settings (such as larger text for those with visual impairments) to be carried over.
The web-app is still in development, but some screenshots of the current implementation can be seen below.
We’ve been carrying out some user testing, and have had quite a bit of good feedback. Thanks to anyone who took the time to fill out our feedback forms!
Overall, the project has been thoroughly interesting, as it’s allowed me to expand my technical skills, but also through seeing bits of what makes Bristol Museum work smoothly.
In 2013 Bristol Museum & Art Gallery (BMAG) ran its first Pay What You Think pricing model at the temporary exhibition; Taylor Wessing: Photographic Portrait Prize. The principle is very simple – visitors enter the exhibition for free and pay the amount they feel the exhibition was worth by putting money in a box at the end of their visit. It was a success and visitors responded well to it. But, there was one sticking point; because we were only accepting cash payments our visitors were telling us that they were either not paying or paying less because they didn’t have cash on them.
“A quality experience, thank you M Shed for providing it! Ps. I only have a little cash with me, but would like to have paid £5…”
“Some of the portraits were very moving… P.s. I gave less than £5 – all the cash I had.”
This got us thinking about alternative ways of collecting payments from visitors for our next Pay What You Think temporary exhibition – death: the human experience (24 October 2015—13 March 2016). Card payments were deemed unfeasible as the Pay What You Think system is not staffed in the same way as standard ticketing – so card payments cannot be taken securely. The next thing that came to mind was payment by text message. Taking payment by text is relatively common nowadays – it can often be seen in things like charity appeals and car parks. Anyone who has used a text to pay system before will know that it is a very simple way of making a payment as it generally doesn’t require sign-up or registration. Instead, the user simply sends a text message containing a specific word to a specific number and a set amount of money is paid (I’ll explain in more detail below).
With a month to go before the opening of death: the human experience at BMAG I set about to organise a text to pay system for the exhibition. Here I run through a step-by-step guide to text to pay. Nb. there’s a bit of a catch at the end with collecting payments – the phone companies (3, EE, Vodafone etc.) will probably want to take a slice of your earnings…
Text to pay: a step-by-step guide
Searching for a Premium SMS service provider
The very first steps in setting up the text to pay were trickier than I expected. This is because I didn’t know the proper name for ‘text to pay’. Naturally, I went to google and searched for ‘text to pay provider’ (+ various versions of those words). I found a few websites, but it wasn’t immediately obvious which service I was looking for and who could provide it. I called a couple of companies who offered similar texting services but not exactly what I was looking for. Eventually, I learnt that what I wanted was called a ‘Premium SMS’ service provider. You will have much more luck searching for Premium SMS than ‘text to pay’.
So, once I had found this out I found a couple of companies that provided the s
ervice and requested quotes from them both. I got quotes from the companies Oxygen8 and txtNation (I’m sure there are many more options out there). The better quote was given by Oxygen8 – so I went with them.
Compliance and regulation
One of the things that struck me was the amount of regulation and compliance there is involved in Premium SMS. This is actually quite unsurprising as Premiuim SMS is used when you pay for app downloads and in things like TV competitions and voting on programmes like the X Factor. Premium SMS services are regulated by an independent regulatory body called PhonepayPlus – their Code of Practice is regulated by Ofcom.
Before you can setup and run a Premium SMS service you have to register with PhonepayPlus and ensure compliance with their code of practice. All the information you will need on how to do this can be found here on their website. It is pretty straightforward; it requires some form-filling and a payment of an annual registration fee of £155 +VAT. Once you have done this you will be assigned a PhonePayPlus registration number. Ours is ORG837-51289-03976.
Setting up ‘keywords’ and ‘shortcodes’
There are two key elements of a Premium SMS system – the Keyword and the Shortcode.
It’s very simple, to make a payment the user sends a prescribed keyword (e.g. PAY5) to a shortcode (a five digit number; e.g. 63333).
The keyword is a word that the user can send in order to make a payment. In the case of our exhibition we have five different keyword options – death1, death2, death3, death5, and death10 – each of which allows for a different level of payment. When a user sends an SMS containing one of these keywords to the shortcode 63333 a payment will be made to the value of the number included in the text; e.g. text death5 and the user will be charged £5. (The payment is either taken from the remaining credit of users with pay as you go phones or it will be added to the bill of users on phone contracts).
The keywords and shortcodes are also the bit that you have to pay your provider (in our case Oxygen8) to setup. There is a charge to setup the shortcode and then a monthly fee for that shortcode – the provider is effectively renting it on your behalf. Then there is a charge to setup each keyword. In total, to setup and run the Premium SMS for the five month duration of the exhibition it cost us approx. £320.
Displaying and advertising your Premium SMS service
As you might expect there is a bit of compliance to get through when advertising a Premium SMS service. Basically, you have to make it as clear to the user as possible that if they text one of the keywords to the number then they will be charged, and what they are being charged for. Sounds simple, but it took a few emails back and forth with our provider to get this right. The accompanying text also needs to include contact details and your PhonepayPlus registration number. (Your provider should help you with this).
Collecting Payments (here’s the catch)
I’m sorry to leave this till last but there is a catch to all of this. If, as we are, you are collecting payments using a Premium SMS service for anything other than a registered charity then the payments you receive from your visitors/customers will be subject to a levy from the phone companies (see here if you’re a charity). In other words, if one of our visitors texts to pay £5 then we will not see the whole £5, the phone company (3, EE, Vodafone etc.) will take a slice of the payment. How much they take depends on the initial value and on the phone company – but typically they take around 25%.
Our visitors to death: the human experience are responding to the text to pay service we’re offering. We know this because we can follow payments on Oxygen’s very handy online dashboard. The individual payments reach us as a single payment from our provider at the end of the exhibition (we had the option of monthly payments).
The Premium SMS service has one final advantage – you gain access to the mobile phone contact details of your visitors. Bristol museum will not be doing any kind of follow-up messaging using our text to pay user details – this is explained to visitors in the advertising material. Other organisations may choose to use mobile phone contact details as part of their marketing.
To some extent, the Premium SMS service we’re running for death is a bit of an experiment both to make our exhibitions as user-friendly as possible and to explore different options for income generation. It’s difficult to judge the success until the exhibition has finished – but we already thinking about using Premium SMS for our one-off events and talks.
If you have any questions or comments and would like to get in touch with me directly, my email is – email@example.com
One of the focus areas for improvement at Bristol Museum & Art Gallery (BMAG) and M Shed is our retail offer. Over the past year Zak Mensah (Head of Transformation) and Helen Lewis (Retail Manager), with input from Peter Holloway (retail consultant) and myself (User Researcher), have implemented a number of big and small changes in order increase income generation in our shops but to also make them more appealing, relevant, and exciting parts of the museums.
This post is about a small but seemingly effective change we have recently made within the shop at BMAG. It follows the Phase One refurbishment of the shop in October 2015. The shop refurb included the purchase of seven new nesting tables; one of which we have designated to display products outside the entrance of the shop. Here I look at what impact this small change has had.
We began using the shop-front display table on the 11th December 2015, and we have been surprised with the positive impact it has had on sales. The display is dedicated entirely to a range of books about Banksy – the world renowned Bristol-born graffiti artist. We know from sales data that the Banksy books are an important product within the BMAG shop. To date in 2015-16 the book Banksy’s Bristol: Home Sweet Home by Steve Wright is our fourth most popular product, and overall it is the most popular book that we sell. If you’re interested, it is now also available through our online shop.
Following the general retail rule of putting the most popular items forefront and centre of the shop, Helen displayed the Banksy books on the shop-front display table. In total we stock four books dedicated to the work of Banksy:
Banksy’s Bristol: Home Sweet Home – £14.00
Banksy: Myths and Legends – £5.95
Banksy: Wall and Piece – £14.99
Planet Banksy – 12.49
It wasn’t until the table was in place that we realised how much of a natural fit the Banksy book display was. Directly outside the shop is BMAG’s very own piece of original artwork by Banksy – Paint Pot Angel. The iconic piece was given to the museum by Banksy following the hugely successful exhibition/takeover of Banksy’s artwork in the museum in 2009 – Banksy versus Bristol Museum. The display table is in the eye-line of the Paint Pot Angel and it’s the perfect moment to capture visitor’s interest in Banksy, and ultimately to generate sales of Banksy related products.
What’s been the impact on sales?
Between 2nd May 2015 and the 30th December 2015 we have sold a total of 205 Banksy books at BMAG. (Our retail sales records for this year excludes April, it begins in May 2015 as this is when we moved to Shopify).
Period One – without shop-front display table
Prior to the 11th December (223 days) 163 books were sold
Average of 0.73 books sold per day
Period Two– with shop-front display table
From 11-30th December (excluding 25/26th Dec) (18 days) 42 books were sold
Average of 2.3 books sold per day
In the period we have displayed the Banksy books on the shop-front table, there has been an increase in sales of 219.8%
To some extent these figures may be inflated by the Christmas sales, but there are other notably busy periods within the period between May and December so it is likely that this increase in sales cannot be attributed to Christmas alone.
The lessons of this small change it seems is that it can be good to experiment with change in museum retail, especially if you use the available evidence you have to inform those changes. The Banksy books are also a great example of the need to provide visitors with products that are relevant to their experience of the museum – they respond well to them.
On a regular basis I will see visitors come into the museum, go straight to Banksy’s Paint Pot Angel, take a photo of it and leave. There are only nine pieces of Banksy’s artwork remaining in Bristol, two of which are displayed in our collections – the Paint Pot Angel at BMAG and the Grim Reaper at M Shed. The two that we display are the only ones displayed in-doors and so we have a great opportunity to provide the Banksy books and other merchandise that fans of Banksy want. As I noted above, we already knew that our Banksy products were popular; even before the shop-front display of the books, the Banksy products were already in our top-ten most popular products. So the big lesson is that when looking to increase income generation it is a good to start with popular items and ask whether they could do better still.